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Hilger modern

Hilger modern

Private Gallery
 
Galerie Ernst Hilger at artparis 2008
 
  Galerie Ernst Hilger at artparis:
Booth G 10 April 3 - 7, 2008

Grand Palais
Avenue Winston Churchill 75 008 Paris

Daily from 11 am to 9 pm

Dorotheergasse 5
A-1010 Vienna
Tel: 43-1-512 53 15
Fax: 43-1-513 91 26
www.hilger.at

Li Luming (b. 1956 in Shaoyang, Provinz Hunan, China) returns to the years 1965 to 1975 in his grey-on-grey, virtually monochrome paintings and documents people, their work, and their private lives during the Cultural Revolution. The artist consciously makes reference to the form and content of Gerhard Richter's Baader-Meinhof Cycle: 18. Oktober 1977, created in 1988. Similarly, to Li Luming representations of the Cultural Revolution serve as a starting point for thinking about ideology, memory and the shattering of illusion. He too, transfers extant black-and-white photographs into the medium of oil painting, blurring them in the process. Often, his subjects are Chinese icons. However, Li Luming, like Gerhard Richter and in contrast to the following generation of Chinese artists - the Cynical Realists - abstains from commenting. And so the paintings themselves become comments within the context of an a-historic reception of the own in China.

Erró regards painting as the pleasure of being able to talk back and provoke. He assembles his collages from media waste, creating ever new mixtures of the world of consumption and art history, of political propaganda and documentary photographs. His home-country Iceland did not turn Erró into a romanticist. By provoking ordinary people, he uses his sense of humor to fight against all horrors.

Eduard Angeli places his work on a timeless level with ultimate objectivity. Clear cut edges of buildings adjacent to their diffused angles are simultaneously stating these metaphysical stages as a tribute to the romantic. (...) Angeli creates a close-up of the horizon motif. The display details are partial within the artist's field of view, therefore the buildings are mostly cut. The main facade with its rigidity rarely has a small courtyard and is flanked by adjoining buildings which are reaching toward the narrow vestibule. It is impossible to enter the stage, although the depictions are suggestive and the whole ambience is realistically staged. But these views are like intensive dreams of a scary reality. Never viewed and never committed, they are symbols of abandonment and existential loneliness; representative of a silence that is both threatening and hopeful at the same time.

Like an author of comics, Andreas Leikauf seems to have access to and use of an inventory of images, which is surely traced back to the anonymous pictorial style. The idea of trash is certainly no problem for the artist. Trash replicates all major genres of advanced civilization and parodies it, too. The potency of popular culture - which of course also existed before pop art - lies in its directness and supposed inarticulacy. His image-word combinations seem to be part of a collective subconscious.

Oliver Dorfer presents a position within the Austrian contemporary art, which connects the motif-orientated language of pictures of the 1980th with a high sensibility for optical systems of current artistic forms of appearances. He works on the tension between universal validity of the simplest story and the complex interleave of signs of our pic-media-society. His new works show few recurring motives, which form logos, icons and piktograms, and create his distinctive visual language. Although he works traditional with brush and acryl on plastic, he talks about his paintings as pics or visuals and refers with his picture series in comic style on narrations of comics, pop und trash.

Convinced that the development of painting may not be allowed to lag behind its own history, we are looking for a pictorial idiom in which, for example, the dynamics of baroque, the filmic quality of nineteenth-century historical painting converge with pop art and abstraction. This means our pictures are caught up in movement. If - having read Baudelaire with Foucault - modernity defines itself as attitude seeking to register what is ironic, "what there is of the heroic in the present moment", our works most clearly position themselves in the very place where boundaries become blurred, spaces and figures dissolve, where different time cycles meet. Asgar/Gabriel

Andy Warhol was born Andrew Warhola in Pittsburgh, Pennsylvania, in 1928. In 1945 he entered the Carnegie Institute of Technology (now Carnegie Mellon University) where he majored in pictorial design. Upon graduation, Warhol moved to New York where he found steady work as a commercial artist. Throughout the 1950s, Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Director's Club and the American Institute of Graphic Arts. In these early years, he shortened his name to Warhol. The 1960s was an extremely prolific decade for Warhol. Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th-century art, such as the Campbell's Soup Cans, Disasters and Marilyns. At the start of the 1970s, Warhol began publishing Interview magazine and renewed his focus on painting. Andy Warhol died February 22, 1987.The Andy Warhol Museum opened in Pittsburgh, Pennsylvania, in May 1994.

Vladimir Velickovic is of the opinion that the basic elements of painting can be found in people themselves. Temper, character, appearance, attitude, cultural heritage - all of these play a role when creating a work of art, and are part of it. It is just like history, which determines what we are. Violence in true life, brutal reality - these are a dual burden for the artist Vladimir Velickovic. To him, the consequences of war and violence can be found everywhere, they are frightening and oppressive. Velickovic belongs to a generation that grew up with violence and - in a certain way - also toys with it.

Further artists at artparis 2008:

Alfred Hrdlicka
Nikolaus Moser
Massimo Vitali

Images:
Li Luming

Outhhood II, 2006, oil on canvas, 216x160 cm

Erró
Mao at Roosevelt Island, 1974, 168x86 cm oil on canvas

Eduard Angeli
Lido Winter 1, 2007, pastel and watercolor on paper, 102x152 cm

Andreas Leikauf
hate my style, 2008, 140x100 cm

Oliver Dorfer
preparing4polly, 2008, acrylic on plastics, 200x140 cm

Asgar/Gabriel
here is something deep inside of me, 2008, oil on canvas, 180x130 cm

Andy Warhol
details of renaissance paintings (paolo ucello, st.george and the dragon, 1460), 1984 unique screenprint on paper, TP 9/36, 81,3x111,8 cm

Vladimdir Velickovic
Feu, 2007, 116x89 cm, oil on canvas
 
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